Time Code Generator & Boom
Able to generate time-code for multiple types of cameras. Boom matches all mics and industry standard. Multiple mics available for specific needs.
Post Production Expertise
Coming from a background of post production, Matthew pays extra attention to detail while generating sound reports, hiding mics on talent, setting levels and planning for the shoot so you get the best sound to work with when it comes time to edit. Yes, he even reads the scripts and makes notes for sound regardless of the project budget.
Equipment
Some sound mixers primarily use Sennheisers, Rode, Comica, etc. (mid range), Matthew doesn’t leave anything to chance, especially in the limited Block B frequencies available in Los Angeles or the limited Block A frequencies in Chicago. He uses the same gear that studio uses (Lectrosonics), regardless of the project budget.
The Sound Mixer
This particular sound mixer can record up to 8 channels of audio. No matter the project, audio is always recorded twice. The duplicate audio channel gain is set lower so if there is any peaking, you are saved with the duplicate audio channel.
Lots of Gear!
Matthew brings a lot of extra gear for the just in case situations. He typically has at least one pelican case full of mics and more. Depending on the project needs, a sound cart and additional crew are provided.
Noise Cancelling Monitoring
The ability to truly listen and monitor every signal coming into the mixer and not be distracted by anything not being picked up by the mics.
The Belt
Equipment for everything needed on set and more. Topstick, hide-a-mics, batteries and powerpacks, gaff tape, extra mics and more! The look of the gear layout changes depending on the specific project needs. No project is the same!
Script Supervisor Audio
Audio can be sent to the script supervisor and to other key members of the crew. Distance shouldn’t be a problem since industry standard gear is being used. You shouldn’t ever have to wait on audio.
Significantly Challenging (but fun) Projects
Sound mixing and boom operating is an art. The more time on set, the more tips and tricks you learn. Every story has different sound needs. Some require more on location folly work, while others may require more dialogue mixing.
Here are some projects that had some challenges such as recording audio from a separate vehicle while driving, a windy day, a priest costume with multiple layers and no way to put a boom on him every time, etc.
The documentary “Dogs” was shot more like a reality tv show. The camera would record at random times throughout the whole day. No time to change frequencies directly and only one shot to mic up the talent. One of the shots that was suddenly sprung upon us was riding in a separate car and doing an interview on the fly while driving in the city. Luckily, with Lectrosonics, this wasn’t an issue. I was able to monitor the settings remotely as well as monitor the sound from a separate vehicle.
Confessions was a short film shot at UCLA. There was numerous warnings about using specific frequency ranges. Because of the Lectrosonics and the A1 Block, this wasn’t an issue.
The wardrobe on the main two talents were hard to work with. The Catholic priest had multiple layers which made sound every time he moved and made everything skin tight making it hard to mic the talent. The other talent had a rough, thick, plastic jacket that also made a lot of noise. Matt was able to place a mic on the priest’s collar since that area didn’t move much and had the perfect accessory to mic the other talent and used a directional lav which didn’t pick up the coat moving.
On a documentary shoot about the TV show The Office (woo!), we shot at Andy Buckley’s house. There was a lot of hardwood floors which made the sound reflective. Matt was able to able to put carpet below him which helped dampen the sound.